Liveness, Location & Immersion

It is recognised that immersive art theory and practice remains at an early stage (Yin and Jin 2022). Site-adaptivity is also a key consideration for projects involving multiple performances across different venues (Sloan and Turner 2024). The research question was ‘how can the liveness of audiovisual works be enhanced through combining remote and live elements of audiovisual compositions in physical immersive performance spaces?’ The aim was to explore approaches to performance that combine elements of traditional performance, laptop performance, installation, film and discussion – to reveal process as well as the intentions of the completed work. 

Audiovisual composition involves music and visuals as essential components of a singular work (Harris 2021, Payling 2023). Audiovisual practices are becoming increasingly accessible (Stokes 2022), offer strategies to enhance liveness in performance (Waite 2018), and facilitate the exploration of interdisciplinary themes (Waite 2023) - as exemplified by artists such as Ryoji Ikeda (180 Fact 2021), Max Cooper (2020) and Ryoichi Kurokawa (SeditionArt.com 2021). Recent developments include the incorporation of mixed reality and volumetric video (Brandon 2023), LiDAR (ScanLAB 2016) and Dolby Atmos (Summers et al 2021). More broadly, artists continue to examine performance roles, relationship with installation, adaptivity across locations, remote elements and audience interaction (Richards and Shaw 2022). 

The project was initially funded by Research England and delivered through a Centre for Blended Realities secondment during 2024-2025. It aligns to AMATA’s Theme 4: ‘Augmenting Experience, Sensory Communication, and Immersive Technologies’ as well as the Sonva research group. 

This project makes use of Falmouth University’s investment in immersive technologies including 3D audio, LiDAR and volumetric video. The materials and knowledge gained will add value to teaching in areas such as the Audiovisual Ensemble, Immersive and Interactive Audio, Art of Production and the growing interest in interdisciplinary work in student-led projects. The project also connects to other Music research projects that make use of immersive technologies. 

Beginning in Autumn 2024, this practice-research project involved the collaborative development of audiovisual pieces through composition, in-person and remote studio collaboration, field recording, LiDAR capture, volumetric video capture, audio production and visuals design. Some collaborators had worked on previous projects, while others were recruited through open calls through University and social media in October 2024.  

The pieces were refined through studio rehearsal and regular live performances. In May 2025, several works were presented as part of the Audiovisual Electronics Symposium, which took place at the Fish Factory Arts Space and involved contributions from other professional and student audiovisual artists. In June 2025, as part of the field review, there was a visit to Sonar 2025 in Barcelona. In July 2025, a full performance took place in AMATA Studio L with multiple screens and full surround sound. Following evaluation, a re-worked version of the performance was presented in January 2026, which involved changes to the staging, sequencing and documentation of the event. 

• Boskenwyn Community Primary School - voices
• Tom Carter (Borneo Nature Foundation) – film production
• Troy Christiansen (Electricity Will Kill You) – LiDAR scanning
• Faye (Falmouth University) – film production
• Dr Catarina Fontoura (Falmouth University) – film production  
• Prof Louise Harris (Glasgow University) – contributor
• Paul Joines (Falmouth University) – visuals, lighting
• Jo Lake-Jones (Falmouth University) – saxophone
• Dr Johny Lamb (Falmouth University) – modular synthesis
• Dan Ledley (Electronics Symposium) – event production
• Kevin Moir & team (Falmouth University) – video documentation
• Sam Murray (Falmouth University) - guitar
• John Mullaney (Last Picture Show) – composition
• Dr Will Parker (Falmouth University)  - performer
• Dr Thomas O’Shea-Wheller (Exeter University) – insect scientist
• Andy Rushton (Falmouth University) – vocals and electronics
• Frankie Stevens (Falmouth University) – vocals
• Robin Tyndale-Biscoe (Lemonade Factory Studio) - drums
• Pete Vilk (Vilk Collective) – drums and percussion 

• Violet Battaglia - performer
• Teän Bourdeaux – performer
• Nathan Holt – contributor
• Taylor Hopewell - guitar
• Technical Theatre Arts students – events setup
• Lauri Thomson – clarinet
• Freddie Willis – guitar 

• Borneo Nature Foundation – film footage  
• Electronics Symposium – event production  
• Fish Factory Arts Space – event hosting
• Red River Singers - choir
• Woodland Valley Farm – access to field recording site  

• Han Abiss – LiDAR capture
• Christian Aindow – immersive audio
• Ethan Bradley – volumetric video capture
• Georg Finch – consultancy
• James Randell – ticketing
• Alex Smith – event support 

• Centre for Blended Realities
• Dr D Ferrett
• Dr Antti Saario